Here Come the Mummies is one of the world’s most improbable novelty bands. The aggregation of exceptional Nashville musicians performs racy funk songs while wearing mummy costumes. Billing themselves as “the world’s premier undead funk ambassadors,” band members including Mummy Cass(anova) and Eddie Mummy play suggestive songs like “My Party” and “Dirty Minds.” Fun-loving advocates of the longstanding ensemble are often too focused on their dance steps to laugh during Here Come the Mummies’ lively appearances.

The Phantastics are firmly ensconced near the top of any reputable list of Kansas City’s best party bands, but the jubilant funk ensemble won’t be able to go through the motions at the Riot Room on Friday. Members of the Phantastics, including rapper and vocalist Kemet the Phantom, may feel compelled to inject extra energy into songs like “Bananas” to maintain the band’s elite status. The Phantastics top an impressive bill that includes Hi-Lux, a dynamic up-and-coming locally based group, and Oklahoma showband Count Tutu.

Two years after his death, David Bowie’s absence remains deeply discomfiting. Planned before his unexpected passing, the initial the Band That Fell to Earth tribute to the icon served as a wake at the Uptown Theater in 2016. The third edition of the event will feature contributions from several of Kansas City’s most prominent musicians. Representatives of adventurous jazz ensemble the People’s Liberation Big Band will collaborate with members of popular ensembles including blues-rock group Katy Guillen & the Girls in a survey of Bowie’s seminal catalog.

The Sextet is among a new wave of ensembles that’s redefining the sound of Kansas City jazz. Bassist Robert Castillo, the leader of the Sextet, suggests that his group creates “music to move to and be moved by.” The description reflects the Sextet’s appeal to fans of jam bands like Phish, as well as to enthusiasts of Kansas City’s jazz tradition. Songs including “#Notmypresident” on “Blob Castle,” the Sextet’s buoyant 2017 album, split the difference between righteous jams and venerable swing.

10 p.m. Saturday, Jan. 6. The Ship. 816-471-7447. The cover charge is $5. Details are available at theshipkc.com.

The Rich Hands

Monday, Jan. 8, at MiniBar

The Rich Hands rock like it’s 1974. The San Antonio band possesses the nonchalant swagger of bygone rock groups like Humble Pie and the Faces. “Rollin’,” a representative track from the Rich Hands’ latest album, “Take Care,” resembles a prime cut from a solo album by the Rolling Stones’ Keith Richards. The Rich Hands’ willful disregard of the musical trends of the past four decades makes it a welcome throwback to an era in which woozy rock stars ruled the earth. With Salty and Drugs & Attics.

A lot of musicians are cool. Lana Del Rey is positively frigid. Once derided for her languorous performances, Lizzy Grant, the woman who defies convention as unorthodox pop star Lana Del Rey, has overcome harsh reviews that once threatened to derail her career to become a critical and commercial darling.

“Love,” a torpid song about youths who “get all dressed up to go nowhere in particular,” is among the unimpeachably fashionable songs on her chart-topping 2017 album “Lust for Life.” With Jhene Aiko.

Bob Dylan’s soundtrack to “Pat Garrett and Billy the Kid” evokes the dust and desperation depicted in Sam Peckinpah’s 1973 film. Smooth Hound Smith, the rootsy Nashville duo of Zack Smith and Caitlin Doyle, would be ideal candidates to make music for a sequel of the gritty Western. The lonesome, sepia-toned sound of sparse songs like “California Sway” and “Young and Golden” effectively conveys a particular sort of American winsomeness. With Whales and Adriana Nikole.

When the dynamic single “Invincible” was released in 2009, Adelitas Way appeared destined to become a solid mid-tier hard rock band. The Las Vegas-based group was embraced by radio stations, including Kansas City’s 98.9 the Rock, and it secured opening slots on concert bills headlined by the format’s biggest stars. In spite of the respectable showings of subsequent singles like “Sick” and “Dog on a Leash,” Adelitas Way enters 2018 playing modest venues like Aftershock. With Deadset Society.